Here is the line-by-line paraphrase of Shylock’s monologue:

Original: Signior Antonio, many a time and oft
Modern: Mister Antonio, many times over and over again

Original: In the Rialto you have rated me
Modern: In the marketplace you have scolded and berated me

Original: About my moneys and my usances:
Modern: About my money and my money-lending business

Original: Still have I borne it with a patient shrug,
Modern: I’ve always endured it patiently, just shrugging it off

Original: For sufferance is the badge of all our tribe.
Modern: Because suffering and enduring abuse is what defines all Jewish people.

Original: You call me misbeliever, cut-throat dog,
Modern: You call me a non-Christian, a murderous dog

Original: And spit upon my Jewish gaberdine,
Modern: And you spit on my Jewish cloak

Original: And all for use of that which is mine own.
Modern: And all this because I use what belongs to me.

Original: Well then, it now appears you need my help:
Modern: Well now, it seems like you need my help:

Original: Go to, then; you come to me, and you say
Modern: Come on then; you come to me and you say

Original: ‘Shylock, we would have moneys:’ you say so;
Modern: ‘Shylock, we need money’ - that’s what you say

Original: You, that did void your rheum upon my beard
Modern: You, who spit your saliva on my beard

Original: And foot me as you spurn a stranger cur
Modern: And kicked me like you’d kick away a stray dog

Original: Over your threshold: moneys is your suit
Modern: From your doorstep: money is what you’re asking for

Original: What should I say to you? Should I not say
Modern: What should I say to you? Shouldn’t I say

Original: ‘Hath a dog money? is it possible
Modern: ‘Does a dog have money? Is it even possible

Original: A cur can lend three thousand ducats?’ Or
Modern: That a stray dog can lend three thousand gold coins?’ Or

Original: Shall I bend low and in a bondman’s key,
Modern: Should I bow down low and speak like a slave

Original: With bated breath and whispering humbleness, Say this;
Modern: With quiet breath and whispered humility, and say this:

Original: ‘Fair sir, you spit on me on Wednesday last;
Modern: ‘Dear sir, you spit on me last Wednesday

Original: You spurn’d me such a day; another time
Modern: You kicked me away one day; another time

Original: You call’d me dog; and for these courtesies
Modern: You called me a dog; and for these kind acts

Original: I’ll lend you thus much moneys’?
Modern: I’ll lend you this much money’?

In Act I, Scene 3 of “The Merchant of Venice,” Bassanio approaches the Jewish moneylender Shylock to borrow three thousand ducats for three months, with Antonio serving as surety for the loan. Shylock initially appears hesitant about the arrangement, questioning Antonio’s ability to repay and expressing concerns about his various merchant ventures at sea. When Antonio arrives, the conversation becomes tense as Shylock reminds Antonio of the past mistreatment he has endured, including being spat upon, called names, and having his business practices condemned. Despite this history of abuse, Shylock agrees to lend the money.

Shylock then proposes what he presents as a “merry jest” - if Antonio fails to repay the loan by the agreed date, instead of charging interest, Shylock will be entitled to cut one pound of flesh from Antonio’s body. Antonio readily agrees to these terms, dismissing the bond as harmless since he expects his ships to return well before the loan comes due. Bassanio expresses concern about the unusual conditions, but Antonio reassures him that there is no danger, confident in his ability to repay the debt within the specified timeframe. The scene concludes with the arrangement settled and plans made to formalize the bond with a lawyer.

The Merchant of Venice centers on Bassanio, a young Venetian gentleman who needs money to court the wealthy heiress Portia in Belmont. His friend Antonio, a merchant, agrees to help but has no ready cash since his ships are at sea. Antonio borrows 3,000 ducats from Shylock, a Jewish moneylender, with the unusual condition that if the loan isn’t repaid within three months, Shylock may take a pound of Antonio’s flesh. Meanwhile, Shylock’s daughter Jessica elopes with the Christian Lorenzo, taking her father’s money and jewels.

In Belmont, Portia’s deceased father has decreed that her suitors must choose correctly among three caskets—gold, silver, and lead—to win her hand. The Prince of Morocco and the Prince of Arragon both choose incorrectly and depart. When Bassanio arrives and selects the lead casket, he wins Portia, while his friend Gratiano wins her maid Nerissa. Their celebrations are interrupted by news that Antonio’s ships have been lost and Shylock demands his pound of flesh.

Portia and Nerissa disguise themselves as a lawyer and clerk and travel to Venice for Antonio’s trial. In court, Portia grants Shylock his legal right to the flesh but warns he may take no blood and must cut exactly one pound—an impossible task. Defeated, Shylock loses his bond and, under Venetian law, must forfeit half his wealth and convert to Christianity. The disguised Portia requests Bassanio’s wedding ring as payment, which he reluctantly gives. Back in Belmont, Portia playfully scolds her husband for giving away his ring before revealing her disguise. The play concludes with news that Antonio’s ships have safely returned, restoring his fortune.